Religious Baroque Specifics

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Allegri Missa Vidi turbam magnam date

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1

Allegri Missa Vidi turbam magnam date

1640s

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2

Allegri Missa Vidi turbam magnam

avoidance of harmonic tritones

F natural b.3 bass

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3

Allegri Missa Vidi turbam magnam

overlapping entries

b.4 alto with end of prev phrase

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4

Allegri Missa Vidi turbam magnam

PSR dissonances

b.18 alto G over chord change = 4-3 sus

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5

Allegri Missa Vidi turbam magnam

Syncopation

alto b.21

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6

Monteverdi Vespers date

1610

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7

Monteverdi Vespers

1st sops enter with cantus firmus

‘Sancta Maria Ora Pro Nobis’ b.36

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8

Gabrieli In Ecclesiis date

1608

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9

Gabrieli In Ecclesiis

change to triple time because of holy trinity

b.11

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10

Gabrieli In Ecclesiis

Bb chord (bold)

b.104

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11

Gabrieli In Ecclesiis

F to D chord change (false relation)

b.174-175

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12

Gabrieli In Ecclesiis

metre change and syncopation

‘vivifica nos’ b.157

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13

Monteverdi Vespers

reuses music from


Monteverdi’s 1607 opera ‘Orfeo’

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14

Monteverdi Vespers

freer treatment of dissonance

‘nigra sum’ b.40 bass E, vocal line F

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15

Monteverdi Vespers

word painting

‘nigra sum’ b.27-31 ‘surge’ (arise) uses ascending scale

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16

Monteverdi Vespers

new monodic style

simple continuo accompaniment in ‘nigra sum’

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17

Bach Magnificat date

1723

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18

Bach Magnificat

polyphonic

‘magnificat anima mea’

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19

Bach Magnificat

chords reflect words

‘fecit potentiam’ b.28 stop on dim chord, b.29 aug chord reflect words ‘the conceit in the hearts of the proud’

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20

Bach Magnificat

cantus firmus

‘suscepit israel’

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21

Bach Magnificat

oboe d’amore obbligato

‘quia respexit’

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22

SchĂŒtz St Matthew Passion date

1666

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23

SchĂŒtz studied with


Gabrieli and Monteverdi

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24

SchĂŒtz St Matthew Passion

powerful dissonances

b.16 introitus tenor Eb above alto D

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25

SchĂŒtz St Matthew Passion

repeats words at times of tension

‘Eli’ + ‘Mein Gott’ 3 times

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26

SchĂŒtz St Matthew Passion

two tenors playing false witness

‘er hat gesagt’, they sing in canon a maj2 apart, tenor 1 begins a tone higher than tenor 2 but switches to a tone lower half way through

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27

Bach St Matthew Passion date

1727

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28

Bach St Matthew Passion

No.1

‘Kommt, ihr Tochter’

children sing a chorale melody in G major

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29

Bach St Matthew Passion

No.33

‘So ist mein Jesus nun gefangen’

Palindromic tonal structure (Bm, Em, A, D, G, D, Am, Em, Bm)

two choruses split antiphonally at b.86 G section

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30

Bach St Matthew Passion

No.47

‘Erbarme Dich’

descending basso continuo throughout aria reflect tears

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31

Bach St Matthew Passion

No.72

‘Wenn ich einmal soll scheiden’

chorale is reharmonised to phrygian with more chromaticism, sung immediately after Christ’s death

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32

Purcell ‘My Heart Is Inditing’

date

1685

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33

Purcell ‘My Heart Is Inditing’

anthem type

verse anthem

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34

Purcell ‘My Heart Is Inditing’

tonality

mixture of older mixolydian and new C major

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35

Purcell ‘My Heart Is Inditing’

serious meaning of words

‘Hearken, O Daughter’ Queen should forget her family and think only of her duties to the King, shown in use of minor keys, chromaticism (b.319-320) and false relations

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36

Purcell ‘Hear My Prayer, O Lord’

date

1682

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37

Purcell ‘Hear My Prayer, O Lord’

interval motif

minor 3rd on ‘O Lord’

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38

Purcell ‘Hear My Prayer, O Lord’

anthem type

full anthem

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39

Purcell ‘O Sing Unto The Lord’

date

1688

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40

Purcell ‘O Sing Unto The Lord’

anthem type

verse anthem

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41

How does Purcell’s ‘O Sing Unto The Lord’ show triumph and certainty?

strings are homophonic at beginning, bass soloist starts solo with fourth intervals

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42

Purcell ‘My Heart Is Inditing’

instrumentation

2 choirs, 8 soloists, strings and organ

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43

Why was Purcell’s ‘My Heart Is Inditing’ composed?

to celebrate the coronation of James II

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44

Purcell ‘My Heart Is Inditing’

cadence that had fallen out of fashion in early 17th century

English cadence b.98

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45

Purcell ‘My Heart Is Inditing’

word painting

‘At His Right Hand’

‘glorious’ often in pairs and 3rds and 6ths (b.119)

‘wrought gold’ is melismatic (b.126)

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46

Locke ‘Lord, let me know mine end’

anthem type

verse anthem

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47

Locke ‘Lord, let me know mine end’

male solos

b.84 tenor

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48

Locke ‘Lord, let me know mine end’

word painting

b.95 emphasis on ‘fretting’ from tied notes causing suspensions

b.75 melismatic ‘hope’

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49

Lully ‘Domine salvum fac Regem’

date

1660-1680s

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50

Lully ‘Domine salvum fac Regem’

instrumentation

three high voices and continuo

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51

Lully ‘Domine salvum fac Regem’

when was it performed?

whenever Louis XIV attended mass at Versailles

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52

Lully ‘Domine salvum fac Regem’

motet type

petit motet (less than 2 minutes)

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53

Lully ‘Domine salvum fac Regem’

description

simple but melodic, syllabic setting, dotted rhythms

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54

Rameau “Quam dilecta tabernacula”

date

1713

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55

Rameau “Quam dilecta tabernacula”

motet type

grand motet

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56

Rameau “Quam dilecta tabernacula”

grand motet features

starts with solo voice, multi-sectional (influence of Rameau’s opera writing), mix of lyrical sections and complex counterpoint

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57

Rameau “Quam dilecta tabernacula”

instrumentation

SSATBB, 2 flutes, string ensemble, continuo

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58

Handel’s Messiah

date

1742

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59

Handel’s Messiah

orchestra

Oboes, bassoons, two trumpets, timpani, strings, continuo

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60

Handel’s Messiah No.3

word painting

‘Ev’ry Valley’ b.25 ‘low’ sung to a low note

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61

Handel’s Messiah No.1

in the style of a french overture, slow section with dotted rhythms followed by a faster fugal section. dominant pedals at separate points in both G major and E minor creates tension

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62

Handel’s Messiah

secco recitative

‘Behold, a virgin shall conceive’ alto, sung with free rhythm dictated by accents of the words, accompaniment is simple and chordal, melody shows speech by using few pitches

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63

Handel’s Messiah No.23

solemn mood

‘He was despised’, falling melody (‘a man of sorrows’ b.22-23), awkward intervals (1st violins b.22), dramatic silence b.66

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64

Handel’s Messiah No.25

‘And with his stripes’ 1st subject features agonised dim 7th leap of ‘his stripes’ which makes it easily identifiable to the listener

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65

Handel’s Messiah No.48

‘The Trumpet Shall Sound’ obbligato trumpet with space left to hear soloist (contrasts Bach Erbarme Dich continuous obbligato)

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66

Carissimi ‘Jephte’

date

1645

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67

Carissimi ‘Jephte’

instrumentation

Six voices and continuo, soloists and chorus SSSATB

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68

Carissimi ‘Jephte’

monody example

alto opening ‘cum vocasset in proelium’

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69

Carissimi ‘Jephte’

word painting

‘Fugite, fugite, cedite, cedite impii’ fleeing shown through fast-rising scale

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70

Carissimi ‘Jephte’

harmony reflects mood

‘Heu, heu mihi filia mea, hui!’ features chromaticism and dissonance to reflect Jephte’s lament

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71

what was great about verse anthems?

they suited the smaller acoustics of court chapels like Chapel Royal, Hampton Court Palace

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72

what was St Mark’s Basillica famous for? also another two facts

cori spezzati, composers travelled all over Europe to hear music there, introduced instruments, especially wind, into church music

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73

how was St Peter’s different to St Mark’s?

very few instruments used, mainly prima prattica, influenced by music of Palestrina

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74

prima prattica

Polyphonic, controlled dissonance only, modal effects, avoids lavish ornamentation, acapella, music dominates the text

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75

seconda prattica (main ones)

text dominates music, bolder use of harmony, word painting, dotted rhythms, syncopation, more elaborate writing for solo voices

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76

Louis XIV power

wanted to undermine influence of Italian music, expanding French political and economic supremacy into the arts

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77

France saw ___

dance as the epitome of aristocratic art

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78

Rameau was ___

one of the first French musicians to become famous all across Europe

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